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00:01:30Softly, softly, softly, that's right.
00:01:34Ladies and gentlemen, magic is the science of illusion.
00:01:38They aren't misdirecting thoughts.
00:01:40If you will try and keep your thoughts on what I am doing, I will...
00:01:44There, that's fine, fine.
00:01:45Sorry, sir, they're rehearsing inside.
00:01:48And no visitors.
00:01:49But this is something special. I have a lady friend in the show.
00:01:52No smoking.
00:01:53Oh, I'm sorry. I promised her I'd be here for the opening.
00:01:56Miss Karen Lee.
00:01:57Miss Lee?
00:01:58Oh, yeah, yeah.
00:02:00The little one with the legs.
00:02:02Don't tell me you've never noticed them.
00:02:05She's cute.
00:02:06Miss Lee.
00:02:08Miss Lee.
00:02:09A gentleman to see you.
00:02:13Al.
00:02:15You got here after all.
00:02:19You didn't think I'd miss your opening.
00:02:21How's it going?
00:02:22Like they always go with me, shall we?
00:02:24Oh, I want you to meet Mr. Gallagher.
00:02:26No, no, look, I don't want to bother you now.
00:02:28Oh, it'll do him good.
00:02:29Make him forget his nervousness.
00:02:31You'll like it.
00:02:41Gus.
00:02:42Be sure that entrance is kept clear for the buzz saw drink.
00:02:45Remember, it's got to be rolled on in the dark.
00:02:47Uh, Mr. Gallagher, I'd like you to meet Lieutenant Bruce of the New York Detective Bureau.
00:02:51Oh, I am.
00:02:51He came all the way from New York to see our opening show.
00:02:54Oh, I can see how busy you are.
00:02:55All this excitement.
00:02:57Yes, it's especially exciting for me, Lieutenant, since this is my first appearance on any stage.
00:03:01But Mr. Gallagher knows more about magic than all the other magicians put together.
00:03:05For years, I've been inventing illusions for big-name magicians and watching them take all the bows.
00:03:11And I finally caught the fever myself.
00:03:13Unlike the playwright who wants to get in there and read his own lines, I guess I'm just a ham
00:03:18at heart.
00:03:18Who isn't?
00:03:19As I put this show together, and if our luck holds out, we're headed for Broadway.
00:03:23Pardon me.
00:03:24Hmm.
00:03:24Please.
00:03:25Mr. Gallagher, we're ready to rehearse the buzz saw illusion.
00:03:27I've sent out everybody who doesn't have a partner.
00:03:29Oh, good.
00:03:30Pull that curtain down and be sure the stage door is kept locked.
00:03:32Right.
00:03:33That trick is the secret of our show.
00:03:35You see, Lieutenant, no magician considers it a crime to steal from a competitor, so we carefully guard all our
00:03:42new ideas.
00:03:43This buzz saw trick of mine is a prize shocker, and I'm taking no chances.
00:03:47We don't even trust the police.
00:03:48Oh, she doesn't mean you, Lieutenant.
00:03:50You don't have to go.
00:03:51I think I'd better.
00:03:52I'll be rooting for you tonight, Mr. Gallagher.
00:03:53Good luck.
00:03:54Thanks so much.
00:03:56All right, now be sure that stage door is locked.
00:03:59All right.
00:04:03This trick can put us over on Broadway.
00:04:06It all depends on how it's done.
00:04:08I've made it as foolproof as possible, but that saw is dangerous.
00:04:12It can rip its way through anything short of steel.
00:04:15All right, boys.
00:04:17Take it from where we placed Karen on the table.
00:04:34¡Gracias!
00:04:56¡Gracias!
00:04:57Excuse me, Mr...
00:05:01I didn't recognize Mr. Gallico.
00:05:03Is it really that good?
00:05:05Do I look like Rinaldi?
00:05:08Like a Cis twin.
00:05:10I don't know.
00:05:11This is the first time any magician has ever attempted an impersonation of one of his rivals.
00:05:16Holy smoke, that's the end of their act. Mr. Gallico, you're on.
00:05:19I'm ready.
00:05:26Ladies and gentlemen, Mr. Gallico, who is a talented mimic,
00:05:30will now present several of his own illusions as they would be done by other famous magicians.
00:05:35First, the great Rinaldi.
00:05:49Ah, how cooling it is.
00:05:54This is one convenience we do not have in my place.
00:05:58Let us have some more of this.
00:06:05Not only looks like Rinaldi, but he sounds like him.
00:06:12Go behind Rinaldi.
00:06:15Aguilar!
00:06:16Go behind Rinaldi.
00:06:29Go behind Rinaldi.
00:06:36They're Blessed!
00:07:04¡Gracias!
00:07:26¡Gracias!
00:07:38¡Gracias!
00:08:08Ladies and gentlemen, first, a demonstration.
00:08:17I have here a common new post, cut from a solid piece of mohawk.
00:08:24Hey, where are you going?
00:08:26I'm Ross Orman.
00:08:27Shh, there's a show going on.
00:08:29I'm Ross Orman. I want to talk to the house manager.
00:08:31Well, he's out front.
00:08:33They said he was back here on the stage. This is police business.
00:08:35Oh, all right. I'll see if I can find him.
00:08:38Wait down there. Wait down there.
00:08:43Now, let us assume that this is a human body
00:08:47and that this is a human head.
00:09:03I'll see if I can find him.
00:09:05I'll see if I can find him.
00:09:41Ladies and gentlemen, this is the most dangerous exhibition ever attempted,
00:09:47and I must ask for complete silence.
00:09:50The least disturbance could cause this experiment to end in tragedy.
00:09:55So now, I present for the first time on any stage, the lady and the buzzsaw.
00:10:10Who pulled the curtain down?
00:10:12Hit that curtain up again. Up!
00:10:15Ladies and gentlemen, may I have your attention, please?
00:10:18I wish to announce that, owing to unforeseen circumstances,
00:10:22we are unable to continue with this performance.
00:10:26What does he mean, unable to continue?
00:10:30What were you talking about out there? How dare you pull down on me?
00:10:33Ask those men. They'll tell you.
00:10:35And I'm holding you responsible for the loss on tonight's business.
00:10:38I'm calling my lawyer right now.
00:10:41What does he mean, ask you?
00:10:43He means Iraq down the curtain.
00:10:45With an injunction.
00:10:46An injunction against what?
00:10:47The use of the buzzsaw trick.
00:10:49But what right have you to...
00:10:51Lieutenant, do you know anything about these things?
00:10:54A little, yeah, but I'm no lawyer.
00:10:58The state is enjoined against showing your buzzsaw trick.
00:11:01I'm afraid they've got you.
00:11:03What's it all about?
00:11:04Well, if it's any of your business,
00:11:06I own a company that builds illusions for magicians.
00:11:08And Gallico is my employee.
00:11:10Anything he creates becomes my property.
00:11:13I built the buzzsaw trick on my own time and with my own money.
00:11:16I read your contract and you'll see that no matter how you built it,
00:11:18it still belongs to me.
00:11:20Why, you rotten loser.
00:11:21No, Mr. Gallico, that won't get you anywhere.
00:11:24Get him locked up in the city jail.
00:11:27Now, listen, you.
00:11:29I want this trick back in my New York studio before noon tomorrow.
00:11:33And if you know what's good for you,
00:11:34you'll quit playing actor and get back on your job.
00:11:36Do you think I'd work for you after this?
00:11:39You'll work for me or you won't work.
00:11:42So long.
00:11:44Gallico the Great.
00:11:59This is a tough contract you signed with Armand.
00:12:02Is it true that he owns everything I create?
00:12:05According to this, everything but the air you breathe.
00:12:10Can the contract be broken?
00:12:12I doubt it.
00:12:14But I told him at the time that I would take care of this business
00:12:18as long as my show was in New York
00:12:20or until he could replace me and he offered no objections.
00:12:24That's his way to say nothing and then stab you in the back.
00:12:34Sorry.
00:12:37I don't often forget myself like that.
00:12:41I understand Armand is a big man in show business.
00:12:45Yes.
00:12:46I had my show all set for the 44th Street Theater.
00:12:50They told me this morning that they'd booked another attraction.
00:12:54I can thank him for that.
00:12:58I'm afraid I have to go.
00:13:00I thought Karen was meeting you here.
00:13:02She's supposed to, but she's late.
00:13:04I have an appointment at the Hudson University lab.
00:13:06They're doing some pathological work for the department.
00:13:09Make my excuses, will you?
00:13:10Of course.
00:13:12Armand.
00:13:13Oh, you've met Mr. Ormond?
00:13:16Yes, Lieutenant.
00:13:18And I'm sure you've heard of Mr. Rinaldi, the great Rinaldi.
00:13:22Master of the black arts.
00:13:24Magician by royal appointment to the court of the King of Spain.
00:13:27I'm sorry, that's his billing.
00:13:29Next week, Jersey City.
00:13:30Meet Lieutenant Bruce of the detective bureau.
00:13:33A detective?
00:13:34It's a pleasure.
00:13:35I trust it remains a pleasure.
00:13:38Glad to know you, Mr. Rinaldi.
00:13:40Excuse me, I was just leaving.
00:13:41I'll tell Karen.
00:13:42Uh, please, and tell her I'll meet her for dinner at Tony's restaurant, six o'clock.
00:13:46So long.
00:13:47Thanks.
00:13:50Ah, the mysterious bird's sword.
00:13:55It looks very real, very dangerous.
00:13:59It's no wonder you kept it a secret.
00:14:02Go ahead, Don, show him how it works.
00:14:04He's a magician, he should know how it works.
00:14:10The girl's body drops through the trap.
00:14:12Then, when you pretend to fix her hair, the dummy head comes up and the real girl slips out of
00:14:17the machine.
00:14:18Ah, very good.
00:14:19And it needs a showman to present it to an audience.
00:14:22It was presumptuous of you to think you could do it.
00:14:25Only an amateur could be so brash.
00:14:28But I'll make you famous, my pet.
00:14:31In my hands, you'll become a star.
00:14:35Now, look.
00:14:36I'll send a moving band to pick it up this afternoon and deliver it to me.
00:14:39I'm bringing my show to the 44th Street Theater next month.
00:14:43And I want to start rehearsing this trick.
00:14:46I'll give it top billing on all my posters.
00:14:5044th Street Theater.
00:14:52Of course.
00:14:54Ross owns half interest in my show.
00:14:57As well, I have a matinee in Jersey City.
00:15:01Goodbye, Ross.
00:15:02Goodbye.
00:15:02Goodbye, Garrico the Great.
00:15:13So, that's why you took the trick away from me.
00:15:16I could have stopped you before you booked your first date.
00:15:18Why didn't you?
00:15:19Why did you let me go on?
00:15:20You needed a lesson.
00:15:21You belong here, not in the theater.
00:15:24When I stumbled onto you, you were a two-bit concessionaire with a broken-down carnet outfit.
00:15:28All you had was a leaky tent and a bag full of cheap tricks.
00:15:32I had a lovely wife.
00:15:33She was the only reason I took a second look at your flea-bitten show.
00:15:37The only reason you brought me here and gave me a job.
00:15:41She was a lot different then.
00:15:43For one thing, she had an innocent mind.
00:15:46But to you, that meant ignorance.
00:15:48And so you did your best to change it.
00:15:50She had one great weakness.
00:15:53Consuming hunger for rich living, and I couldn't give her that.
00:15:57If you'd left us alone, she might have gotten over it.
00:16:02But you catered to it, dealt it up.
00:16:05I could see her change before my eyes.
00:16:08It was no surprise when she asked me for a divorce.
00:16:11You seemed willing enough.
00:16:13She didn't try to deceive me.
00:16:15She told me what she wanted, and I let her have her way.
00:16:17It couldn't have bothered you much, or you wouldn't have stayed here on the job.
00:16:22I loved her, Ross.
00:16:28That's funny, isn't it?
00:16:31Yes, it would be to you.
00:16:34I knew you even then.
00:16:35I knew what could happen.
00:16:37I stayed on the job to pick up the pieces.
00:16:40You're lucky I took her off your hands.
00:16:42Look how she's behaved since I've married her.
00:16:44Gallivanting all over Europe, spending my money like water.
00:16:47I haven't seen her in six months.
00:16:50Didn't try to deceive you.
00:16:53You stupid fool.
00:16:54She's always been a trollop.
00:16:56She double-crossed you from the first, just as she double-crossed me.
00:17:02Don, Don, what's the matter with you?
00:17:03Keep away from me.
00:17:05Everything.
00:17:06Everything I ever had.
00:17:07My wife.
00:17:08My friends.
00:17:10My self-respect.
00:17:12Everything but the air I breathe.
00:17:14Gallico the Great.
00:17:16Magician extraordinary.
00:17:17That's funny, isn't it?
00:17:18Gallico the Clown.
00:17:19Gallico the Stupid Fool.
00:17:22There's one trick you've never seen, Ross, that no magician has ever dared to try.
00:17:27But I can't do it alone.
00:17:28You've got to help me.
00:17:29In fact, you'll be the star.
00:17:30Don.
00:17:31Don.
00:17:32Don't be.
00:17:32Gallico the Great.
00:17:33Magician extraordinary.
00:17:35Get out of here, Will.
00:17:35Why don't you laugh at me?
00:17:37Don, wait.
00:17:38Go on and laugh.
00:17:39Get out of the blade.
00:17:40Blast.
00:17:41Blast.
00:17:42Go on and laugh.
00:17:44Talk to me.
00:17:46Take the place you were around.
00:17:48Murderer of the blade.
00:17:50Blast.
00:17:52Blast.
00:17:53Blast.
00:17:54Stop it.
00:17:55Blast.
00:17:56Blast.
00:17:57Blast.
00:18:08Blast.
00:18:15Blast.
00:18:17Blast.
00:18:20Blast.
00:18:21Blast.
00:18:23Blast.
00:18:25Blast.
00:18:26Blast.
00:18:27Blast.
00:18:27Blast.
00:18:29Blast.
00:18:30Blast.
00:18:31Blast.
00:18:31Blast.
00:18:32Blast.
00:18:32Blast.
00:18:33Blast.
00:18:34Blast.
00:18:35Blast.
00:18:36Blast.
00:18:37Blast.
00:18:38Blast.
00:18:38Blast.
00:18:40¡Hola, Don! ¿Es Alan aquí?
00:18:42No, no, no, no, no, no le haces.
00:18:44Lo escuché.
00:18:45Así que no es la fin, pero no.
00:18:47Tu tengo trabajo de laaltra.
00:18:49Lying enite.
00:18:50Alán despierta.
00:18:50Bueno, Alan se debería asympt calculationa de Tony.
00:18:53Inaba de 6.
00:18:54Si, ya está ahora.
00:18:57Karen, sí, necesitamos mesmo fare una arocarriluge
00:19:00por la buena salida es un salida en horarios.
00:19:04Oh, oh, forget it, Don. I know what this thing has cost you.
00:19:08No, I want you to have your money the same as the others.
00:19:12If there's any change in my plans, I'll let you know.
00:19:15Look, Don, why don't you come to dinner with us tonight? It'll do you good.
00:19:19Oh, thanks, Karen, but I have something else to do.
00:19:24Good night, Karen.
00:19:29Illusions, Incorporated.
00:19:31Yes, this is Mr. Gallico. Who is this, please?
00:19:34Dean's van in storage.
00:19:37Yes, I have a consignment for Mr. Rinaldi.
00:19:41I'll be here tonight. I'll have it ready for you.
00:20:12I'll be here tonight.
00:20:13Thank you.
00:20:24¡Suscríbete al canal!
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00:33:58No, no, no, no, no, no.
00:34:03Lots of people do.
00:34:06What are you working on?
00:34:08New trick.
00:34:10Is the studio making money?
00:34:12It's doing very well.
00:34:14Good.
00:34:15Good.
00:34:17I suppose you know that Ross has left me.
00:34:21Can you blame me?
00:34:22Yes, and so would you if you would react normally.
00:34:25Have you forgotten that I was once your wife?
00:34:29I'm not likely to.
00:34:32Don, he's hiding from me.
00:34:34I've got to find him.
00:34:36I get even for both of us.
00:34:39Tell me where he is.
00:34:42I don't know.
00:34:44You don't know.
00:34:48You're afraid of it.
00:34:50Yes, I think you are.
00:34:53You know, you know, I often wondered why you let you make a fool of you and turn the other
00:35:01cheek.
00:35:02Perhaps you knew all the time what was going on and didn't have the courage to do anything about it.
00:35:09Don.
00:35:12What's happened to you?
00:35:13I didn't want to do that, Claire.
00:35:16Well, you better get out of here.
00:35:24Well, I read in the paper where Mrs. Ross Armand had returned from Europe and found that her husband was
00:35:47missing.
00:35:47I said to myself, oh, you poor little creature, if only I could help you.
00:35:53Mrs. Prentiss loves to help people.
00:35:55And of course, that picture that they published, the Ormonds and Happier Days, it was rather smudgy.
00:36:00No, thank you.
00:36:02It was a rather smudgy happiness.
00:36:05And then Mr. Ormond was wearing his whiskers in a different style.
00:36:09But there was something about that face that rang a bell.
00:36:12She studied it under a microscope.
00:36:15It was then that I determined to write to you and ask you to come here.
00:36:19Oh, of course, this rumor may not be your husband, but it's well worth investigating.
00:36:24What name did he use?
00:36:26Ward Jameson.
00:36:28What did he look like?
00:36:29Oh, he's a very striking man.
00:36:32The moment I laid eyes on him, I said, there's a character.
00:36:36I collect characters.
00:36:38I'm a writer, you know.
00:36:39Uh, murder mysteries.
00:36:41Alice Prentiss.
00:36:42Oh, here's a picture of my husband.
00:36:46It's a much newer one.
00:36:48Frank.
00:36:49Frank, what did I tell you?
00:36:51I knew it in my bones.
00:36:53Yes, my dear, in your bones.
00:36:54This is the man, Mrs. Ormond.
00:36:57Is he here now?
00:36:58Oh, no, no.
00:36:59He spends very little time here.
00:37:00But he did tell the maid that he'd be in late tonight.
00:37:03Very late.
00:37:04Oh, my dear.
00:37:06You, you do want to make up with him, don't you?
00:37:09Why, of course.
00:37:11If only it let me.
00:37:13I don't think that'll be too difficult.
00:37:18Frank.
00:37:19Yes, dear.
00:37:21Oh, yes, my dear.
00:37:24Now, my dear child, I've handled situations like this in dozens of my books.
00:37:31And they always turn out in a very interesting way.
00:37:36Oh?
00:37:47Frank.
00:37:48What?
00:37:49Shh.
00:37:50He's here.
00:37:52He's here.
00:38:13He's here.
00:38:36He's here.
00:38:59Raz.
00:39:00What is the matter?
00:39:03Can't you speak?
00:39:05¿O es el shock de me ver mucho por ti?
00:39:08¿Qué haces aquí?
00:39:09¿Qué hago aquí?
00:39:11Después de todo, soy tu esposa.
00:39:13¿Cómo estaría con mi esposa?
00:39:16¿Cómo encontré mi?
00:39:18Eso es fácil.
00:39:19No debería haber rechazado las habitaciones de una mujer que escribía.
00:39:23¿Quién sabía que ella se preocupaba?
00:39:26¿De los prenteses saben que estás aquí?
00:39:28¡Por supuesto, mi querida!
00:39:34¿Quién eres tú?
00:39:36¿No eres Ross?
00:39:39¿No eres Dona, no eres tú?
00:39:44¡Amazing!
00:39:45¡Incredible!
00:39:46Creo que no es alguien en el mundo.
00:39:49Es una excepción.
00:39:52La mujer que vive con vosotros.
00:39:55¿Por qué estás masquerando así?
00:39:57¿Tienes tratando de ayudarme contra mí?
00:39:59¿Quién está?
00:40:01No te estoy mirando aquí.
00:40:03¡Anser me!
00:40:11No te estoy mirando aquí.
00:40:17¿Estás muerto?
00:40:19Sí.
00:40:22¿Están los encontraron?
00:40:24No creo que no.
00:40:31¿Estás bien, Don?
00:40:33No, Dona, no te preocupen.
00:40:35No te preocupes tanto, Dona.
00:40:36No te preocupes.
00:40:36No te preocupes, Dona.
00:40:37¿Por qué crees que yo quería él para mí mismo?
00:40:40Yo quería su dinero, y yo lo he hecho.
00:40:43Tú me hiciste una muy rica mujer, y yo podría amarte por eso.
00:40:48Yo podría amarte por eso todo el tiempo.
00:40:52No, no, no.
00:40:54Yo he sido roto para ti.
00:40:56Yo he hecho un malo malo.
00:40:59Yo lo haré.
00:41:01Podemos casarnos de nuevo.
00:41:03Podemos estar contentos.
00:41:05Podemos comprar todo lo que queramos.
00:41:10Mi querida, Clara.
00:41:12¿Dónde?
00:41:14¿No sabes que no me confío en ti?
00:41:18No, no.
00:41:37No, no.
00:41:38Mr. Ormond.
00:41:38Mr. Ormond.
00:41:40Open the door.
00:41:42Ray, Ray, do something.
00:41:44Here, here.
00:42:05Get the police.
00:42:07Yes, my dear.
00:42:18Thank you.
00:42:20Uh, Mr. Gallico.
00:42:24Mrs. Ormond was your former wife.
00:42:26Yes, sir.
00:42:28Do you believe Ormond killed her?
00:42:31Apparently, he was with her when she died.
00:42:34Uh, Mr. Prentice.
00:42:37You'll testify to that?
00:42:38Oh, we'll have to inspect her.
00:42:41We heard their voices.
00:42:43We heard her call him by his name.
00:42:45Ross.
00:42:47Why should he kill her?
00:42:49Tell me that.
00:42:49I think I can show you that Ormond convicted himself.
00:42:52Now he's going to show you his newfangled fingerprints.
00:42:55It was adopted officially by the French two years ago.
00:42:58No two sets of prints are alike.
00:42:59Come here and I'll show you what I mean.
00:43:02Now here's a print of the index finger of Ormond's right hand.
00:43:06Where did you get it?
00:43:07From articles Ormond handled while he was rooming with apprentices.
00:43:10Now here's a second print taken from another source and blown up the same size.
00:43:13You will notice that the prints match each other, line for line.
00:43:18I found this print on the surface of a gold bracelet that belonged to Mrs. Ormond.
00:43:23I remember the bracelet.
00:43:24She was wearing it the night she was killed.
00:43:27Well, we know the man we want.
00:43:28The job is to find him.
00:43:30That'll be all, thank you.
00:43:32Oh, uh, don't leave town.
00:43:33We may call you any time.
00:43:35Good day, everybody.
00:43:37I, uh, suppose you found the same fingerprints in Ormond's house?
00:43:41Yes, in his own room.
00:43:43Freshman's, apparently.
00:43:44Must have made it the night he packed a bag and moved into your house.
00:43:47Are you sure it was Ross Ormond you rented rooms to?
00:43:51I identified his photograph.
00:43:52Yes, but you could have been mistaken.
00:43:54You are not, infallible, madame.
00:43:57Now, if you'll excuse me, I have an audience waiting for me.
00:44:00I hope they hiss him off the stage.
00:44:03Oh, uh, Mr. Gallico, your work simply fascinates me.
00:44:07It's so unusual.
00:44:09I wonder if I could visit your studio sometime.
00:44:12Why, of course.
00:44:13When I have something interesting to show you, I'll, I'll get in touch with you.
00:44:17Oh, thank you so much.
00:44:21Alison, Alison, what are you up to?
00:44:24Oh, nothing, my dear.
00:44:25Nothing at all.
00:44:26He's a nard character.
00:44:27I may put him in a book.
00:44:32Besides, I have the strangest feeling that I've known him before.
00:44:38Hello, Mr. Prentice?
00:44:41Oh, this is Gallico.
00:44:43Tomorrow morning at 11 o'clock, I'm staging a sort of dress rehearsal at my studio of a new trick
00:44:48I've been building.
00:44:50And remembering your wife's request, I'm inviting you both to be present.
00:44:54Can you come?
00:44:55Well, Mrs. Prentice isn't here at the moment, but I'm sure I can speak for her.
00:44:59Almost sure.
00:45:01Uh, we'd be delighted, Mr. Gallico.
00:45:04Delighted.
00:45:05This is the first private showing of a new illusion I've built for my own use in the theater.
00:45:10Karen knows how it works, and she's going to assist me.
00:45:13But for the most part, the machine you will see is automatic.
00:45:17Until it is shown in the theater, I must keep it a secret so that no other magician can steal
00:45:21the idea.
00:45:21This audience had to be one I could trust, and Karen suggested that I invite you.
00:45:26Oh, Mr. Gallico, we're so flattered.
00:45:29Yes, this is quite an event.
00:45:31Sit down, please.
00:45:34Well, here we go.
00:45:45Gallico the Great presents his sensational new illusion, the crematory.
00:46:01This device feeds the body, which is to be destroyed, into the fire chamber of the crematorium.
00:46:08Once inside, it releases the body, leaves it there, and then withdraws.
00:46:13But unless the machine is shut off, it automatically repeats the performance within 40 seconds.
00:46:22Gas is the fuel operating under a forced draft of oxygen.
00:46:26It takes a few moments for the heat to build up, but once it gets started,
00:46:31it develops a temperature of 3,500 degrees Fahrenheit.
00:46:37All right, Karen, you take over.
00:46:54Come on.
00:46:55Come on.
00:46:59Come on.
00:47:25¡Gracias!
00:47:33¡Gracias!
00:47:34¿Cómo? ¿Cómo te gustó?
00:47:36¡Gracias! ¡Gracias!
00:47:40¡Gracias!
00:47:41¡Gracias!
00:47:42¡Gracias!
00:47:43¿Yo te sabía que estaba enseñando este camino?
00:47:47¡Gracias!
00:47:49¡Gracias!
00:47:51¡Gracias!
00:47:52¡Gracias!
00:47:53¡Gracias!
00:47:54¡No hay un acuerdo!
00:48:02No, no, no, no, no, no.
00:48:25It's... it's too hot.
00:48:27I say, where did you get the idea for this crematorium?
00:48:30From a crematory.
00:48:32The heat principle's the same.
00:48:34It does more than burn. It disintegrates.
00:48:36Oh, thanks for inviting us.
00:48:38It was a wonderful show, but we must be running along.
00:48:43Oh, uh, by the way,
00:48:45have you gentlemen heard anything new about our murder case?
00:48:48They're still hunting Omar.
00:48:50Do you know, I'm beginning to believe that that man is dead.
00:48:53No one could disappear so completely.
00:48:55¿Quieres un cab con nosotros, Karen?
00:48:57Sí, voy a venir.
00:49:00¡Oh, eso es tan hermoso de Dios!
00:49:03¡Sí, gracias de nuevo!
00:49:06Gracias, Karen.
00:49:07¡Guy bien!
00:49:16¡No es malo, Gallico!
00:49:19¡No es malo, a todo!
00:49:26¡Oh, of course, it needs work, but I know you'll get the burgs out of it!
00:49:33I'll have the litograph people send an artist over here to make me some sketches for a new poster.
00:49:39The great Renaldi presents his shocking new illusion, the crematoria.
00:49:45Save yourself the trouble.
00:49:48You'll never get your hands on this one.
00:49:50Do you really think so?
00:49:53Well, you know, Gallico, that plentiful woman is nobody's fool.
00:49:57I believe she came close to the tooltrap, Ormond.
00:50:01If he were alive, he'd need money.
00:50:05He wouldn't dare go to his bank.
00:50:08Nor would he go to you, I think.
00:50:10But he'd surely come to me.
00:50:12I'm his partner.
00:50:14Not that he'd trust me, particularly, but he'd know I wouldn't turn him in.
00:50:20Because, you see, he had a couple of things on me.
00:50:25Claude Zomont was a cold, calculating customer.
00:50:29He'd ditch a woman, but he'd never kill her.
00:50:32No woman could mean that much to him.
00:50:33He might kick her out of his house, but he'd never move out himself.
00:50:39You see, I know these things because I knew him.
00:50:44I knew Claire.
00:50:49I know you.
00:50:51You were the kind who loves deeply, believes in the sanctity of the home,
00:50:56suffers in silence, broods and waits.
00:50:59You had every reason to hate him.
00:51:02What did you do with him, Gallico?
00:51:05How did you get rid of it?
00:51:10Was this thing already built and hidden away,
00:51:14waiting for a job like that?
00:51:17Ormond was seen alive two weeks ago.
00:51:20The apprentices identified him.
00:51:23That didn't have to be him.
00:51:25Who else could it have been?
00:51:27It could have been you, Gallico.
00:51:29From what Ormond told me, you are clever, many.
00:51:32Developed a wonderful new makeup, something new in the theater.
00:51:35Something that might be used offstage, too.
00:51:38Only a man who dreams up illusions would think of such a thing.
00:51:42And only people at the theater would know it was possible.
00:51:46Lieutenant Bruce thinks he has Ormond's fingerprints.
00:51:50What if he should think to compare them with yours?
00:51:59This belongs to me.
00:52:03And so does everything that comes out to that, uh,
00:52:07trade of yours.
00:52:09From now on, you are a private enterprise.
00:52:11Ah, I may incorporate you.
00:52:30Get your souvenir programs here.
00:52:33Pictures of each and every act you saw on the stage tonight.
00:52:36Learn how to read your own horoscope.
00:52:38The secrets of the stars, hot in ten easy lessons.
00:52:44Full instructions for performing fifty different beats of magic.
00:52:48Souvenir programs of the great Rinaldi.
00:52:50The one and only Rinaldi.
00:52:55Oh, Lieutenant, how do you do?
00:52:57I'm fine, thank you.
00:52:58Sounded like a good matinee out there.
00:52:59Yes, we were sold out as usual.
00:53:02I, uh, wonder if I could see you for a moment.
00:53:03I have an evening performance.
00:53:05I must read.
00:53:05Of course, but I actually mean a moment.
00:53:08I'm not looking for an autograph.
00:53:10This is police business.
00:53:12Farewell.
00:53:19Please, uh, sit down.
00:53:24You will, uh, pardon me if I change while you are here.
00:53:28Oh, of course.
00:53:30Mr. Rinaldi, you've, uh, said repeatedly you don't believe Ross Armand killed his wife.
00:53:35That is correct.
00:53:36You still hold that opinion?
00:53:38I am not sure that I do.
00:53:40Did you have any reason to suspect that some other person might have been with Mrs. Ormond when she was
00:53:44killed?
00:53:45Why do you ask that?
00:53:46Have you found new evidence?
00:53:48No, but let's say I've hit upon a new theory.
00:53:51But you were so positive it was Ormond.
00:53:54You showed us his fingerprints.
00:53:55Showed you what I assumed to be his prints.
00:53:57To make sure I'm on the right track, I want a set of fingerprints for every person who is well
00:54:02acquainted with Mrs. Ormond.
00:54:04That includes you and Mr. Gallico.
00:54:06I have my equipment here with me.
00:54:08But what right of you to ask that of me?
00:54:11Am I a suspect?
00:54:12Well, no, of course not.
00:54:14What possible use could you make of my prints?
00:54:17Don't you understand?
00:54:18They can prove a person innocent as well as guilty.
00:54:20I do not have to prove my innocence.
00:54:23Don't you want this case solved?
00:54:25That is police business, not mine.
00:54:28And now, if you will excuse me, Lieutenant.
00:54:31Just as you say, sir.
00:54:34Sorry to have troubled you.
00:54:37Thanks for letting me see you.
00:54:54I don't know.
00:54:56I don't know.
00:55:21Judas Priest
00:55:27Sir, I've got something to show you
00:55:28Hello, all right, what is it? What have you found?
00:55:30Today at the 44th Street Theater, I asked Rinaldi to let me take his fingerprints
00:55:33And he refused
00:55:35Rinaldi?
00:55:35What the devil?
00:55:36Sir, please, will you listen?
00:55:39After he left the theater, I broke into his dressing room
00:55:41And photographed some prints from objects on his makeup table
00:55:43This is one of them
00:55:45This is Ormond's
00:55:46Ormond and Rinaldi are the same man
00:55:48That's the craziest thing I ever heard
00:55:50You can see for yourself, the prints are exactly the same
00:55:53Which proves that you can't depend on that method of identification
00:55:55But you can, sir
00:55:56The fingerprints of different persons are never the same
00:55:59I'm going to bring in Rinaldi and hold him on the suspicion of murder
00:56:02On evidence like this
00:56:03Do you want to make a laughingstock of the department?
00:56:06The system's too new
00:56:07We don't know enough about it
00:56:08At least let me assign a couple of men to watch him
00:56:10Let me make sure of him
00:56:12All right, all right
00:56:13But don't make an arrest until you get the goods on him
00:56:16And I don't mean finger prints
00:56:21But how
00:56:22How you can work in the same room where that poor girl was killed is beyond me
00:56:28The thoughts of a murderer and his victim are supposed to linger on the atmosphere of a room
00:56:33Why, I
00:56:35I get just the mood I want in here
00:56:39Well, you can have it
00:56:42Good luck on your murder
00:56:45Oh, I say
00:56:46There was a very nice one in the Fall River thing
00:56:49The killer used an axe
00:56:51And
00:56:51Oh, no, no, no, no
00:56:52Don't tell me now, Frank
00:56:53Save it
00:56:54I shall
00:56:58Frank
00:57:00Do they know who did it?
00:57:02Know who
00:57:02Oh, no, no, no
00:57:04Some neighbors saw him
00:57:05But he was wearing a mask
00:57:14His impersonation of the man he had killed was perfect
00:57:18The mask he wore was equally perfect
00:57:22Another face that fitted him like an outer skin
00:57:28Thin as tissue
00:57:29And elastic enough to give with every move of the facial muscle
00:57:43Frank
00:57:45Frank
00:57:52Frank
00:57:52Frank
00:57:52I've got it
00:57:54You know, your plot
00:57:55No
00:57:56What actually happened
00:57:57Remember I told you how much Mr. Gallico reminded me of Ormond
00:58:02Yes
00:58:02Well, there had to be a reason for that
00:58:04And I think I know what it is
00:58:06They've never found a trace of Ormond
00:58:08I don't believe that he was ever in this house
00:58:10I believe it was Gallico who rented those rooms upstairs
00:58:15Wearing grease paint makeup?
00:58:16Oh, no, Frank
00:58:17No, you were right about that
00:58:19It had to be more than a makeup
00:58:20I think it was a mask
00:58:23Alice
00:58:23A face, I mean
00:58:25The face of Ormond
00:58:26That must have been his secret
00:58:28How else could he have made those quick changes in his show?
00:58:31Oh, I don't believe it
00:58:33It is too incredible
00:58:34But I'm convinced of it
00:58:36So convinced that I'm going to Lieutenant Bruce right now
00:58:39Alice
00:58:39Alice, I forbid it
00:58:40My dear, don't be ridiculous
00:58:45Karen should be here soon
00:58:47I'll be honest with you, Mrs. Prentiss
00:58:49It's my job to follow up every lead I get
00:58:51But I'm afraid your theory's going to steer us right up a blind alley
00:58:54I was worried about it myself
00:58:55Until you told me that the fingerprints of Ormond and Rinaldi were one and the same
00:59:00Doesn't that mean they were made by one man?
00:59:02Yes, it does
00:59:03And it could be Gallico
00:59:04But, well, I'll find out about that before this night's over
00:59:07Hello, Karen
00:59:08Hello
00:59:08Now, look here, Alan
00:59:09Honey, I'm sorry I'd have to drag you down here
00:59:11I should think you would be sorry
00:59:12What you told me on the phone about Mr. Gallico is simply impossible
00:59:16Why, he's the kindest, sweetest man I've ever known
00:59:18What he told you on the phone was my theory, not his, Karen
00:59:22Well, how can you even think such a thing?
00:59:24I'm sorry, I like Mr. Gallico, too
00:59:26Now, listen to me, Karen
00:59:29When Gallico impersonated other magicians in his show
00:59:31What method did he use to make himself look like him?
00:59:34Well, I don't know
00:59:35He always kept it a secret from the rest of the company
00:59:38He always changed in his dressing room
00:59:40Do you think he used a mask?
00:59:42No
00:59:43How could he even talk or move his face with a mask on?
00:59:47It would have to be a special kind of mask
00:59:49What of it?
00:59:50Suppose he did use one
00:59:51He never killed anybody
00:59:53He couldn't do such a thing
00:59:55Mrs. Prentice thinks that Gallico might be in there right now on the stage impersonating Rinaldi
01:00:00That's utterly ridiculous
01:00:02I hope you're right
01:00:03Let's go take a look
01:00:28No, Gallico, better than I do
01:00:29Better than any of us
01:00:30Tell us
01:00:32What do you think?
01:00:48Rinald?
01:00:52I don't understand it
01:00:55He does some things very much like Mr. Gallico
01:00:59Mrs. Prentice may be right
01:01:13Now, if Gallico's prints should match those of Ormond and Rinaldi
01:01:18I'm going to Gallico's studio
01:01:20May I go with you?
01:01:22But don't you think I've earned that reward?
01:01:23Carol, use something for me
01:01:25Wait at the stage door until Rinaldi comes out
01:01:27Then talk to him
01:01:28Say anything you can think of
01:01:29But keep him as long as you can
01:01:30In case he is Gallico
01:01:33Come on, Mrs. Prentice
01:01:49Oh, Don, Don
01:01:50Well, hello, Karen
01:01:52What are you doing here?
01:01:53Why, I was waiting for Mr. Rinaldi
01:01:55I'm looking for a job
01:01:57You see, I haven't done very much work lately
01:01:59Except a little modeling
01:02:00So I thought there might be something in this show
01:02:03Oh?
01:02:04Well, that's too bad
01:02:05I came here to see Rinaldi myself
01:02:07But he's gone
01:02:08Oh, I didn't see him leave
01:02:09No, they told me that he came out through the front
01:02:13Can I drop you someplace, Karen?
01:02:15Oh, no, no, thank you
01:02:16Well, I'm going straight home
01:02:18And you live near my place
01:02:20It's much better than waiting here for a bus
01:02:24Come on, get in
01:02:27Well, you're not afraid of riding with me, are you, Karen?
01:02:30What's your address?
01:02:3229 Palisades Avenue
01:02:3329 Palisades Avenue
01:02:40How's our friend the detective?
01:02:42L?
01:02:43He's all right
01:02:46He's having a little trouble finding his murderer, isn't he?
01:02:50Considerable trouble
01:03:03It's all right?
01:03:04It's a matter of opinion
01:03:06Come in
01:03:08Let's go to Gallico's apartment
01:03:09See if there's a rear exit
01:03:11We may have to get out of here in a hurry
01:03:12I get you
01:03:13I get you
01:03:52Well, thanks for the lift, Don
01:03:53That's all right
01:03:55Go to bed now and get a good night's rest
01:03:57I shall, thanks
01:03:59Good night, Karen
01:04:00Good night, Don
01:04:10457 Rensselaer Drive
01:04:16Come on, go to bed now and get a good night's Dorn
01:04:19Good night, Dad
01:04:29Come on,�ie
01:06:12¿Qué es Karen?
01:06:14Gallico está en el estudio.
01:06:15Él va a estar ahí cualquier momento.
01:06:17Debería ir y salir de ahí.
01:06:19Bien, Karen.
01:06:20Voy a contar con Bruce.
01:06:27Bueno, lieutenant.
01:06:32Lo siento, Mr. Gallico.
01:06:34Bueno, yo decidí obtener los primeros de todos los que conocen Mrs. Ormond.
01:06:39Yo le pedí a una lista de sus.
01:06:42¿Qué le dijo?
01:06:43Oh, él estaba muy nervioso.
01:06:46Yo estaba miedo que me pudiera recibir la misma recepción de vosotros.
01:06:49Los policías no confían a nadie.
01:06:51Bueno, lieutenant, yo no tengo la mayor opción a la que le daba, mi princesa.
01:06:54Oh, eso es muy agradable de vosotros.
01:06:56¿Tú tienes un papel de papel aquí?
01:06:58Sí.
01:06:59Sí, claro.
01:07:04Aquí está.
01:07:06Aquí está.
01:07:06Aquí está.
01:07:07¿Hay algo más que más que más?
01:07:08Vamos a tomar la mano de la mano.
01:07:09First, just roll it on the pad, then make an imprint on the paper, so.
01:07:16I'm glad to help you, Lieutenant. I want you to solve this case.
01:07:20Next, the index finger of the left hand.
01:07:24You know, I have a high regard for you, Lieutenant.
01:07:27I'll always have a high regard for you.
01:07:30Even though we should have a slight misunderstanding.
01:07:42You shouldn't have come here, Lieutenant.
01:07:45I'm afraid I'll have to dispose of you.
01:08:03Ah, Lieutenant, so you're with us again.
01:08:05It's a pity I had to deal with you the way I did,
01:08:08but one must be firm with policemen.
01:08:09I'll give them an inch and they'll take a mile.
01:08:11Calico, you'll get the chair for this.
01:08:12They'll give me the same voltage for killing four as they would for killing three.
01:08:16Ormond, his wife, the great Rinaldi.
01:08:19You should have seen how neatly this machine disposed of him.
01:08:22In no time at all, he was a handful of ashes.
01:08:32Calico, Calico.
01:08:33Calico, Calico, up here.
01:08:34Bruce is hurt.
01:08:35I'm afraid Calico will kill him.
01:08:37I'll go and get a policeman.
01:08:39No, no, there isn't time for that.
01:08:41Go to the front of the studio.
01:08:43Bang on the door.
01:08:44Anything to get Calico's attention.
01:08:46Hurry, hurry!
01:08:47You shouldn't have come nosing around here, Lieutenant.
01:08:51It takes a little time for a job like this,
01:08:53but I've set the machine at 3,500 degrees Fahrenheit.
01:08:55When it nears that point, this door will open.
01:08:57When it is fully open, the machine will roll you in.
01:09:04Actually, in every very little pain, such a blast of heat brings instant oblivion.
01:09:09Can you hear it sing, Lieutenant?
01:09:11It has the voice of a mad bull.
01:09:23As you can see, my crematorium is more than a delusion.
01:09:26You haven't seen it work, have you?
01:09:27But you will.
01:09:28You'll be in it.
01:09:29Calico, you don't know what you're doing.
01:09:30I know, they'll say I'm mad, quite mad.
01:09:33They'll lock me in jail for life, put me in a padded cell with a straitjacket.
01:09:36No, thank you, I'll take the chair.
01:09:47Who's there?
01:09:48Who is there?
01:09:50What do you want?
01:10:08Mr. Gallico, please!
01:10:10Mr. Gallico, please open the door!
01:10:12I can't see you now.
01:10:14Get away from here!
01:10:14I'll get the police!
01:10:16He's the police!
01:10:19Please open the door!
01:10:20Please open the door!
01:10:25Please open it here!
01:10:53¡Suscríbete al canal!
01:11:03¡Suscríbete al canal!
01:11:45¡Suscríbete al canal!
01:11:55¡Suscríbete al canal!
01:11:58¡Suscríbete al canal!
01:12:01¡Suscríbete al canal!
01:12:02¡Suscríbete al canal!
01:12:14¡Suscríbete al canal!
01:12:32¡Suscríbete al canal!
01:12:33¡Suscríbete al canal!
01:12:34¡Suscríbete al canal!
01:12:34¡Suscríbete al canal!
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